Nowadays nobody tends to believe that an artist
without a fancy car could be a good artist.
It might not be a car he is after but wings.
II.
Would the total value of the jewelry worn by
a lady who tries to despise sagacity and virtue,
make her right?
III.
Artists have always been empirically dubious
in terms of succes. In their opinion, the contemporary
criteria of success may not be in harmony -
like a dress of a transvestite that doesn't
fit the ground it's on- with their criteria
of what is good art.
IV.
Success in our days, seems to be more reachable
than ever. But the difficulty in reaching it
lies in the fact that those who control the
distribution of success are in obscurity.
V.
Many young artists wish to come up with an art
that is original, unseen and unexecuted. Whereas
good painting does not really point out the
theme or form of painting, but the painter.
A persons’ self is particular and unique.
The painter, while dealing with life around
him, reveals himself.
VI.
The secret of the success -which is hardly an
aim- of an artist lies in the historical overlapping
of subjective and objective factors. This may
occur, irrelevant with the quality of the art
produced. Or, an artist may never meet success
although having worked hard, if times are, let's
say, times of a military coup or of calamity.
But after all, does all this have much significance?
VII.
Where exactly is the mystery of a painting hidden?
In the painting or in the painter?
VIII.
Could an artist, hide behind his work? Could
he produce an acceptable style that does not
reveal his personality frankly, and say that
this is his art?
IX.
An experienced artist will keep at a distance
from his success. He will not let it predominate
his work. Because success is conservative and
stagnant. It is a plot against the development
of an artist.
An artist will not give up his freedom for that.
Notes
written for the catalogue of the N.Y. exhibition,
sep.2000
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